In the year 2025, Pixar is making a splash with its latest original animated feature, Elio, and simultaneously marking the 30th anniversary of its inaugural film, Toy Story. The storyline of Elio is an interstellar journey following an 11-year-old as he is unexpectedly thrust into the role of Earth’s representative to the universe.

Producing an animated feature involves a dedicated team of animators and supervisors to ensure the smooth running of the project. We had the privilege to interview animation supervisor Jude Brownbill on her experience working at Pixar, her contributions to Elio, and her progression from an animator to a directing and supervising role.

Jude’s career began in the United Kingdom, where she pursued 3D computer animation before migrating to the United States. She has had the opportunity to work on several of Pixar’s iconic films, such as Soul, Inside Out, Cars 2 & 3, Turning Red, Incredibles 2, The Good Dinosaur, and Brave.

Jude, how was it transitioning back into the role of an animation supervisor on a Pixar film after Soul? 

Jude Brownbill: It was invigorating to assume the animation supervisory role again. Each experience creates new opportunities to collaborate with different teams and co-supervisors, learn new concepts, and refine existing methods. After a project is completed, one often reflects on what could have been done differently or what strategies worked well. The chance to make adjustments and build on previous successes in a subsequent project is an additional benefit to repeating the role.

Were there any specific lessons from your first time in the role that you applied this time around? 

Certainly. One successful strategy we implemented in Soul, which I initially learned from my supervising animator during my tenure on Cars 3, Bobby Podesta, is to ask animators what type of work they want to do and attempt to allocate tasks based on their preferences. We have a variety of shot selections, characters, and scene types at our disposal — from highly emotional to extremely cartoony, from high-energy to slow, subtle emotional scenes — that we distribute among the team. However, assumptions about what type of work an animator wants to pursue can sometimes be off the mark.  

When we communicate with our team members about upcoming assignments, we not only discuss task assignments but also their personal goals for improvement. This way, we can customize assignments to help team members hone specific skills, whether it’s bettering subtle acting techniques or enhancing physicality. Sharing this overture at the onset of a project and providing animation options can bring surprising insights.  

When animators are involved in the decision-making process regarding their workload, it enhances their enthusiasm for the project, increases efficiency, and boosts overall morale. This approach was a significant lesson I learned during my time on Cars 3, and I implemented it in Soul and continued its use while working on Elio.

Were any aspects of Elio’s production easier to navigate with your previous experience? 

Decidedly, managing changes became easier. Changes are inevitable in animation and filmmaking, and being able to adapt to said changes is essential. In any run of production, whether it’s as a supervisor or in another leadership role, one is always presented with a plan of action. But these plans can and will change. Unforeseen ideas that enhance the story can emerge, or sometimes tasks take longer than planned — an array of factors can deviate from the original project strategy. It’s important not to become overwrought prematurely or with each change, as it can negatively impact personal health and serves little purpose. The entire team is committed to the production and is determined to resolve any challenges collectively, so it’s important to embrace the change. This lesson was further reinforced while working on Elio.

You’ve held various roles at Pixar, such as an animator, directing animator, and supervisor. How do these roles differ, and do you have a preferred position? 

A fantastic question. An animator is an integral part of the team who is responsible for bringing a character to life onscreen, working with voice actors, storyboards, layout and directors to create emotionally compelling performances. As an animator, you invest 6 to 10 weeks to develop a sequence of shots, from research to the final execution. 

A directing animator plays a pivotal role in the animation leadership team. They bridge the gap between supervisors and individual animators, ensuring that animators have the resources and support they need to deliver the highest quality work possible. They are deeply knowledgeable about the animation rigs, character appeal, and story requirements, enabling them to guide and assist the animators throughout the process.

Supervising animators manage the broader aspects of a project. They work closely with the directors, producers, effects supervisors, production managers, and associate producers, who contribute to different aspects of the film. Supervisors oversee the entire film production, communicating effectively with directing animators and animators, and ensuring that the project progresses smoothly. Their role also spans over managing the animators’ workloads, overseeing sequences, and providing constructive feedback.

In daily review meetings with directors and the animation team, often referred to as ‘dailies’, everyone views the progresses made and provides feedback. This process is collaborative, meaning that anyone can contribute a note or suggestion. A shared goal of all these roles is to pursue truth in the moment of the story.

Can you share a bit about the creation process of the universe’s introduction scene with the vibrant colours and unique designs? 

The art department and production designer Harley Jessup take the lead in curating the artwork. As we dive into a new show, we explore the collected digital artwork, keeping an eye out for potential forms of impact in the Communiverse, various life forms, and so on. The main inspiration comes from art.

When the set team commenced their work, we held daily meetings open to all crew members, where anything needing directorial input was discussed. This interactive space allowed everyone on the crew, regardless of department, to see what everyone else was working on. A significant part of our introduction to the Communiverse and its movement – including how it was populated with crowds and characters – happened in these daily meetings.

Do you have a preference for animating expansive environments like space in Elio or You Seminar in Soul, versus something like Cars or Turning Red, which are more ‘grounded’? 

As an animator, the context doesn’t impact us as much as the context of the storyline. Regardless of whether we are depicting a beautiful and vast environment like the You Seminar in Soul, or a heartfelt, intimate moment in the Communiverse in Elio, our primary focus remains on the performance, acting, and storytelling aspects of the characters at hand. 

However, when the narrative allows, it is a delight to navigate the vast expanses of our environments. For example, in Elio, we have a sequence where Elio and Glordon embark on a communal journey through the Communiverse. This sequence showcases the beautifully designed sets and broadens the world we had created. Having the opportunity to interact with these spaces and the dynamic camera movements helps the audience connect with our characters and journey.

Could you share any influences that contributed to the creation of Elio? 

For me, a significant influence was my two nephews, who were around Elio’s age when I was working on the film. Observing their actions and reactions, even filming them at times, I tried to incorporate their authenticity into Elio’s character.

When you’re animating a scene, to what extent do you consider the ‘rule of cool’ or the desire to evoke strong emotions in the audience? 

In basic animation and its 12 principles, we aim for clear posing, exaggerated motions, and dynamic movements. We often strive to push and enhance these, not merely to make it ‘cooler,’ but to make it more interesting and engaging for the audience. As long as it aligns with the emotional moment, stylized exaggerations can be beneficial. We aim to stretch the boundaries but without overstressing the realism and genuineness of the characters and their moment in the story.

The interview has been edited for clarity and consistency..

Elio is now playing at your local theaters